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Renegade Gym isn't like most other gyms or fitness centers. There are no mirrors, no juice bar, and at times the music is so loud your teeth rattle.
It's an intense, take-no-prisoners environment that probably doesn't appeal to the majority of everyday lifters, much less the spandex & soccer mom scene.
And that suits its founder, Jason Ferruggia, just fine.
Jason has been training clients ranging from athletes to weekend warriors for nearly 20 years. In 1994, he opened Renegade Gym in Watchung, New Jersey. Since then, he has become one of the most in-demand trainers in the industry, having trained more than 700 athletes from over 90 different athletic organizations.
He's also a prolific industry writer, and a very opinionated one at that, with some even referring to him as "the most controversial man in the fitness industry today." While we think that title might be open to debate (hello Greg Valentino) it still sounds pretty cool, and it's one of the reasons we asked Jason to sit down with us today.
Outspoken, politically incorrect, and the last person you'll find training his rotator cuff, introducing Jason Ferruggia.
T-Nation: You barbeque a lot of the strength and conditioning industry's most sacred cows. Let's start with this classic principle: the greater your training age, the heavier you should train.
Jason Ferruggia: So according to this rule, weak novice lifters should do high reps and then continually lower their average number of reps over the course of their training career? That is one of the most ridiculous things I've ever heard. It's so ass-backwards it's beyond words. The truth is actually the complete opposite!
The proponents of this bullshit rule are saying that when a guy can only squat 135 he can do sets of 10-20. But when he can squat 600 some years later, he can now only do sets of 1-5. It's asinine. Because someone has been training for 20 years they now can't go above five reps? And in another few years they will be limited to triples? And then what: eccentric-only singles? I mean, come on, he'd be bored to tears and constantly injured.
If you want to remain healthy as you age and get stronger, your average number of reps should actually go UP, not down.
Dave Tate, Wendler and I were discussing stupid training concepts many years ago at a bar on the Jersey Shore, and when I brought this one up they were both on the floor in hysterical laughter. Neither of these guys had ever heard of it before. And neither has any big, strong guy you've ever met.
T-Nation: So a newbie should start with lower reps and gradually enter higher rep ranges as their strength improves?
Jason: Exactly. Newbies have to start with low reps; it's the only way they can learn proper technique. I have all the beginners I train stick with an average of five reps per set, because I know that if we go any higher than that, their form will start breaking down, they'll learn bad habits and improper motor unit firing patterns, and be at a higher risk of injury. They need multiple sets of low reps to learn properly and get stronger. And if a guy can only squat 95 pounds for five, why would I want to have him squat 65 for ten? That's not enough overload.
Once a guy has been training for a while and has gotten significantly stronger, then I'll start to increase the reps. Even then, I really don't like having most intermediate guys with average genetics go above eight reps on a regular basis.
It's not until a guy is strong that he'll actually get anything out of high reps. At that point he can perform higher reps with perfect technique and reduced risk of injury and can also use a weight that'll provide an optimal overload.
When you see a guy like Matt Kroc doing twenty reps on a one-arm row with close to 300 pounds, it doesn't take a rocket scientist to know that he's inducing hypertrophy and getting a lot out of that set. If you see a skinny 17 year-old kid at the gym doing 20 reps with the 35's, you just feel bad for him.
The other major problem with this rule is that the stronger you get, the further you want to stay away from max weights on a regular basis. It'll fry your nervous system and destroy your joints if you lift heavy all the time. That's the theory behind Jim Wendler's fantastic 5/3/1 system. And Jim's theory actually makes sense.
T-Nation: What about the inverse relationship between the training load and the rest interval?
Jason: There's some merit to that, but coaches often misapply it.
Think about it this way: if you squat 315 for 20, it requires far more rest than a set of five with 365. This is just common sense. When a strong guy does a high-rep set of squats, he'll usually be on the floor for five minutes.
I know that the rule is based on CNS recovery, but you have to take other factors into account as well, such as the fact that people can actually see your heart beating through your sweatshirt after a set of high-rep squats.
However, in certain circumstances this rule does make sense. If you're training for strength and working up to a maximal set of 1-3 reps one day of the week and training for hypertrophy with sets of 8-10 on another day of the week, I could see the lower rep day having higher rest periods.
That would make perfect sense. But it really depends on the specific goals, the individual and the exercise. A deadlift is a lot different than an incline curl. A guy who weighs 250 and has trained for ten years is a lot different than a guy who weighs 150 and has trained for 10 weeks. So you can't adhere to this rule blindly because often times it makes no sense at all.
T-Nation: Lastly, regarding the slaying of sacred cows of training, you question the merits of training the external rotators, right?
Jason: Right, gotta train the rotator cuff every upper body workout; I mustn't have gotten the memo. I didn't realize this was such a big thing in the training world.
My buddy, rehab specialist Keith Scott doesn't train the external rotators, nor does Chad Waterbury or Alwyn Cosgrove, and I'm pretty sure Yates and Ronnie Coleman didn't either. When you're injured or if you're a pitcher, there's definitely some value in training the rotator cuff muscles in isolation, but otherwise you should be training them with overhead presses, unstable pushups, hand walking and exercises like that. Why add yet another exercise to your routine that you don't even need?
T-Nation: Let's switch to diet: you don't buy into the notion that a bodybuilder or strength training athlete requires a lot of extra protein?
Jason: I've tried it a million times over, both on myself and my clients, and I have never seen any benefit to consuming more than a gram of protein per pound of bodyweight a day.
Recently, a lot of people have been writing about the study that showed little to no benefit in consuming more than 20 grams of protein at one feeding. Following these guidelines would put most people at around a high of 180 grams or so per day, assuming they had thirty grams in six meals. This is about what I have been recommending to my clients for quite a while now. The highest I would ever go would be one gram per pound in some kind of extreme low carb phase.
T-Nation: But in the bodybuilder's list of priorities, a high protein diet ranks somewhere between squats and proper peri-workout nutrition. So if not protein, what should a hard-gaining lifter focus on?
Jason: It's always going to come down to total calories, and for skinny guys carbs are more important than protein. The majority of my athletes live on carbs and they always grow. Now I know someone will argue that that's due to the fact that most of them are 16-22 years of age and their Testosterone levels are naturally high. Fine, point taken. But then I would argue that if that's the case and you're older than that, what you really need is more Testosterone, not more protein.
T-Nation: Many of our coaches suggest that proper peri-workout nutrition can make up for an otherwise less-than-perfect diet.
Jason: I've read that and I have to admit, at first I thought it was bullshit. People who know me know that I don't use a lot of supplements and I don't buy into a lot of hype.
But some guys that I trust in the industry like Dave Tate, Jason Pegg and Chad over at Elite Fitness Training Systems have been telling me some incredible things about Surge Workout Fuel and Anaconda. Again, I trust those guys, and it definitely sounds like Biotest is onto something there. I'm amped to give that stuff a shot.
T-Nation: Let's switch gears: as a trainer, tell me the dumbest thing you used to believe.
Jason: Where do I begin? It would be hard to pick just one.
Tempo training would definitely be up there. What a waste of time that is. Great for boring guys to tears and for getting weak. But not so good for anything else. I apologize to all the guys I ever subjected to that scam. Muscles are made for speed. Don't fight it.
T-Nation: Everyone seems to be hating on counting tempo these days. What's the matter, you all fail to make the high school band? Moving on, what can I do tomorrow that will kick start my gains?
Jason: Stop thinking about the gazillion different training concepts that there are to consider, like the best split, the perfect angle to perform an incline press at, and whether you'd be better off doing supersets instead of drop sets.
Instead, just go the gym and focus only on setting PR's. Not just on squats or bench presses, but hammer curls and every other exercise you do. Get stronger at every workout no matter what it takes. If that means reducing your volume and your training frequency, then do it.
Most people constantly over analyze shit and try 52 different training systems per year. But at the end of 12 months their numbers have barely gone anywhere. And in the end, increasing your poundages is the absolute most important thing.
T-Nation: What's the number one thing wrong with 99% of training programs you see?
Jason: Much like my answer to the previous question: too much horseshit volume and a focus on the minutia.
Forget supersets and drop sets and iso-quasi-eccentric ballistic reps and all that. Just get fucking strong. Like I said, the most important thing is beating what's written down in your training journal from your last workout. That's the one thing that I've always stressed at my gym and have always had all my clients do. No matter what, they have to add weight or reps at every workout. If they can't do that, I know something's wrong.
T-Nation: The biggest scam in the training business is:
Jason: Long assessments has got to be right up there at the top of the list.
If you can't properly assess a client in 30 minutes, you should really find a different profession. All you have to do is train he or she once or twice and watch them run and you'll know all that you really need to know. Problems present themselves as the training progresses.
Now don't get me wrong, I have the utmost respect for the functional guys and the rehab/prehab guys who know a lot more about this subject than I do. A lot of these are my friends as well as my colleagues and they're experts at what they do. But in my experience, a lot of that stuff is just impractical and unnecessary. I've heard of guys doing 2-3 hour assessments on people before they even train them. It's fucking insane, and you're robbing people of their money.
Somehow, the human body has devolved so much that it's not even safe to attempt a pushup without doing twelve weeks of corrective exercise first. And God forbid you have a guy squat! Do you honestly think that everyone at Westside or in the World's Strongest Man Contest has perfect alignment and balance and whatever else is deemed necessary for 'optimal joint health'?
Or is the new cool term 'optimal joint integrity'. That's what all the smart kids say, right? My joints have no integrity; they're lying little bastards who always tell me I can squat more than I really can. But I digress....
As a strength coach, you'll usually have an athlete for twelve weeks, max. If in your four-hour assessment you find some imbalances, is that all you're going to work on for the entire summer with this kid? Because I got news for you; that shit RARELY evens out in just 12 weeks; sometimes it NEVER does.
And even if it did, the first time they meet on the field, your perfectly balanced linebacker who has been doing single-leg slide-board work all summer is going to get blasted into next week by the unbalanced running back who was squatting massive weights the last three months.
If a guy has major problems and is coming off an injury, of course you need to do this stuff. But I think it's safe to say that the average human won't be risking death by starting to train without a day-long assessment and six months of corrective exercise.
Boy, I hope that doesn't upset all my friends who send me their assessment DVD's!
T-Nation: You're omnipotent. Like Oprah. What would you change about the fitness industry with one snap of your all-powerful fingers?
Jason: I think nowadays it would have to be the "internet coach or trainer." These are guys who have never trained anyone and want to start writing articles and selling products before they have any training experience to warrant that.
T-Nation: Even the coaches who count tempos are on the same page as you there.
Jason: It's really frustrating. Guys email me all the time and ask how they can get into the magazines or get their name out there. I ask how long they've been training people and the response is usually that they just graduated college a year or two ago and work at the Y with three clients.
I propose that you should have to train people for five years before writing an article about anything fitness related, and ten years before writing a book about it. The internet has made it possible for anyone to be an expert.
T-Nation: With that in mind, what's the worst thing that an aspiring trainer can do?
Jason: Definitely trying to focus on becoming "famous," becoming a big name trainer and writing articles and selling products. Nowadays everyone wants to fast track to success, and the growing, disturbing trend is for trainers to "escape the grind" of training people and start writing for a living and selling stuff.
First of all, if you don't fucking love training people, then get the fuck out of my industry. Because after 15 years I still do it on a daily basis and love it. And if I get away from it for too long I freak out and go right back to it.
Also, when you aren't training people you run out of ideas to write about and lose your 'MacGyver instinct' (as my friend Bob calls it) for coming up with cool new ideas that work. At that point, you're left to just theorize and come up with stupid shit that would never work in a real world setting but sounds cool in an article.
So, be in it for the long haul and love it, otherwise, if you're just using training people as a stepping-stone to your writing career, you'll never be successful in this business.
T-Nation: And finally, the most important question of all. The franchise question, if you will. Tell us something we don't know?
Jason: I could probably give you quite a few, but here's the first thing that come to mind: auto-regulation is probably the most important factor in long term training success.
T-Nation: Well, Christian Thibaudeau beat you to that scoop. He's been advocating a move to auto-regulation during the build-up to the release of the I, Bodybuilder program.
Jason: Has he? Well he's right.
For almost everyone but the novice trainee, straight sets are a complete waste of time. Sure, almost all of the training programs you see will say something like 5x5 or 4x8-10 or 3x12-15. But I rarely do that with my guys and never do it in my own training.
As I said, for beginners straight sets are fine. And when you're writing programs, I understand the need to do that because it's difficult to explain exactly what you're talking about. But the reality is that very few big, strong guys use straight sets. They almost all "work up" or do "working warm ups" and then sometimes, a back-off set or two.
T-Nation: Can you explain why auto-regulation is the way to go?
Jason: Lets use an example. If most people were doing flat dumbbell presses for 8-10 reps, they would usually be inclined to do 3-4 sets. Now let's say you're pretty strong and can do the 150's for ten. Most of the advanced guys I've trained with or observed will do warm-ups with something like 50's, 75's, 100's, 125's, 135's, and maybe even 140's or 145's.
Then they kill one set with the 150's. When you're that strong, each of your warm up sets takes a toll on your body and can also count as a kind of "working warm up set," where it's kind of a work set but still kind of a warm up for your main set.
T-Nation: So just one all-out set?
Jason: There is no need for four sets with the 150's. One big, top end set is more than enough and that would be what you would try to beat next week.
T-Nation: Okay, but the strength training purists will argue that instead of one set at 150 pounds, you could just do the four sets with 135 or 140.
Jason: BORRRRRRING! Plus, the extra volume just adds to more stress on your shoulders. Unless you're doing speed work or jump training or working with beginners, I see very little point in doing more than one or two sets of the same exercise, at the same weight, in the same rep range.
T-Nation: So what happens after that top set?
Jason: After the money set you have a few options. You could either decide that you feel great and want try to hit the 155's for 5-8, you could just go back down to the 140's for another set of 8-10, you could rep out a set of 12-20 with a lighter weight, or you could just move on to the next exercise.
Everyone has their own preference, and truth be told; sometimes it just depends on the day. Some days you might feel great and want to go heavier, other days you might just want to get a pump with a lighter weight, and on shitty days you might just want to go home.
There have been times where I did hit the number I wanted for the day, but it was far easier than I expected it to be. These are great days and they should be taken advantage of. So I go up on the second set and then since I'm feeling great, I throw in a higher rep back off set at the end. Other days, I might just hit my intended goal weight for the day and then shut it down.
T-Nation: Sounds eerily like instinctive training...
Jason: This isn't to say I don't follow a program, because I do. But I allow for some day-to-day tweaks based on how I'm feeling. As an advanced lifter, you are actually hurting yourself if you don't do this and will end up with more injuries.
Of course, this is a somewhat advanced concept and you have to be fairly well experienced to know how to auto-regulate your training. The majority of guys would do best sticking to a program for their first few years of training.
But even in the advanced programs I write I usually leave a lot of room for auto-regulation. For example, if I have someone do a heavy set and a back off set, instead of a narrow rep range like 5-7 and 8-10, I like to widen it to 5-8 and 10-15 or something like that. It gives you more leeway based on how you're feeling that day. If you feel like shit, we may skip one of the two sets.
At the end of the day, the most important thing is that at the end of the cycle your overall numbers are up significantly. But on a day to day basis, you have to be prepared for the fact that you won't always be able to make linear strength gains, and thus you adapt as necessary.
T-Nation: Well, it may not be something we don't know, but it definitely was worth repeating. Thanks for doing this today Jay!
Jason: It was my pleasure.


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Gigaset Group reorganizes brand and domain portfolio
The Executive Board and Supervisory Board of Gigaset AG agreed under the resolutions they adopted today that Gigaset Communications GmbH, a subsidiary that is wholly owned indirectly by Gigaset AG, is to extensively reorganize its brand portfolio. Gigaset's CEO Charles Fränkl explains the resolutions as follows: "This is positive news for Gigaset. Today's decision to reorganize the mark rights lets us tap into additional revenue we can invest in continuing to secure the company's future. Nothing...
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A new era for Gigaset: Entering the smartphone market
Gigaset, a leading name in the telecommunications and consumer electronics sector, recently announced that the company will expand its portfolio to focus on highlight growth markets: smart home solutions and mobile devices.
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New marketing campaign by Gigaset focusses on "digital emotions"
Where´s the connection between a Labrador called Oscar and a Smart Home system? Gigaset elements presents the modularity of the system as part of a new digital campaign – with a series of episodes from a dog´s point of view. The intentionally striking marketing campaign centers on www.gigaset-elements.com
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subset: commoncrawl


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The Kevin Steen Show with Excalibur & Paul London DVD
Region 0 (Plays Anywhere in the World)
The Kevin Steen Show - On the Road
PWG TEN Weekend with Excalibur and Paul London
2 Disc Set
Happy Birthday PWG!!! For the small percentage of the wrestling world who have no souls and hate PWG love fests, we are doing an entire Kevin Steen show about PWG just to stick it to those miserable bastards. Just kidding, we are doing it because PWG is awesome.
Who is better to talk to just a few hours before PWG's tenth birthday party than Excalibur, one of Pro Wrestling Guerrilla's founding fathers and literally the voice of the company?
Following the epic TEN show, we sit down with The Intrepid Traveler himself, Paul London. We were a little rushed on time because Paul had to catch a plane to the Juggalo Gathering (I'm pretty sure he meant spaceship because the conversation Steen had with him was out of this world), but what he left us with was pure Paul London gold. Lets just say you will never look at bacon the same way ever again.
For some bonus footage, we take The Kevin Steen Show cameras to American Legion Post #308 in Reseda, CA and talk with some of the incredible PWG fans minutes before the doors open at PWG TEN. Finally, the viewers of this Kevin Steen Show will also get to see the post show, in ring celebration, at the conclusion of PWG Ten where everybody is ready to dance!
First Listed On WrestlingStore.co.uk : Aril 30th 2021
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I have recently picked up a Nexus 4, on a carrier with a good DC-HSPA network (3 in the UK), and I want to check out the speed on that network. However, I don't know whether my phone has even picked up the DC-HSPA network. My speedtests have so far shown around 12Mbps down and 2Mbps up (one of which was in central London), so I can assume I'm only on HSPA+ at the moment.
I'd imagine DC would be roughly double that. The indicator next to the signal strength bar has only ever said H or 3G. Will it say something different when using DC? It's never even said H+, for that matter. Is it supposed to? Or is H just a blanket for all HSPA-related standards?


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Saltar para: Post [1], Comentários [2], Pesquisa e Arquivos [3]
I'm not for Free Trade, and I'm not for protection.
I approve of them both, and to both have objection.
I'm going through life I continually find
It's a terrible thing to make up one's mind.
So in spite of all comments, reproach and predictions,
I firmly adhere to Unsettled Convictions.
Sir Wilfrid Lawson, deputado do Partido Liberal, sobre A.J. Balfour, Primeiro Ministro inglês entre 1902 e 1905, citado aqui.


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Rhode Island Hospital researchers report that findings from a new study of retail meat in the Providence, RI area indicate little to no presence of antibiotic-resistant bacteria. The study, prompted by the identification of such organisms in retail meat in Canada, Europe and Asia, is among the first in this country to look at the possible spread of infection through retail meat.
In countries outside the United States, including Japan, Korea and the Netherlands, some studies have found antibiotic-resistant bacteria such as methicillin-resistant Staphylococcus aureus (MRSA), Vancomycin-resistant enterococci (VRE) and others in up to 2.5 percent of samples of poultry, pork and beef, and published reports have described food-borne illness caused by MRSA. While some of these infections may reflect transmission from food handlers, the potential exists for transmission to humans directly from contaminated meats.
Researchers at Rhode Island Hospital, led by infectious diseases specialist Leonard Mermel, DO, ScM, set out to determine if retail beef, chicken and pork is contaminated with MRSA, vancomycin-resistant enterococci (VRE) and other antibiotic-resistant bacteria. To do so, meats from 10 supermarkets and butcher shops in the greater Providence area were obtained for a total of 36 samples (12 each of beef, chicken and pork).
Their findings indicated that only one of the 36 samples contained antibiotic-resistant bacteria, which was found in a sample of pork from one store. Of note, Staphylococcus aureus (methicillin-sensitive, not MRSA), was found in four of the 36 meat samples, which is consistent with previous reports. These findings do not indicate a cause for concern regarding meat purchased in the Providence area. The researchers, however, do urge the public to be sure to always cook meats to the recommended temperatures. This will reduce risk of illness if any bacteria is present.
While the findings did not represent significant presence of antibiotic-resistant bacteria in meat, the authors note, "Retail meat products may represent an underappreciated source of antibiotic-resistant bacteria. While our small study did not show cause for concern, the fact is that food-borne illness due to MRSA contamination in retail meat has occurred in other countries."
Mermel and the researchers note that the limitations of the study include the small sample size and the region-specific retail sources. Despite these limitations, they note, "Further studies are necessary in order to delineate the true magnitude of antibiotic-resistant bacteria in the retail meats in the United States, and then it is our responsibility to determine the risk of transmission to humans."
The study was published in the Journal of Food, Agriculture & Environment, Vol. 6 (3&4), 2008.
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Estimated read time: 4-5 minutes
This archived news story is available only for your personal, non-commercial use. Information in the story may be outdated or superseded by additional information. Reading or replaying the story in its archived form does not constitute a republication of the story.
(AP) - In the seventh season of Dashon Goldson's NFL career, the Tampa Bay Buccaneers have been trying to teach an old safety a new trick: how to tackle effectively without breaking a rule or, worse, damaging a body part.
Goldson recently served a one-game suspension for a helmet-to-helmet hit. He was fined a total of $130,000 earlier this year for two other illegal head shots the league has been trying to shut down for the sake of better preserving the health of the players.
"We're trying to re-program his strike zone so we don't keep getting those penalties," Buccaneers coach Greg Schiano said earlier this month. "And I know he is trying very hard to do it as well. He's getting better at it, which is encouraging."
Goldson has long been known as a hard hitter. Now, fair or not, the perception of his style has taken a darker turn: a player prone to making cheap shots.
"I remember being on the good side of it, hearing commentators, analysts talking about how perfect, how good, how I do it the right way, and all of a sudden with the new rule I'm a dirty player, a nasty player, targeted, and I'm not playing the game how it's supposed to be played," Goldson said. "I think that's ridiculous."
His case is a snap shot of the conundrum defensive players already trying to keep up with record-setting passing attacks have discovered in the current NFL. Concussions are a serious problem, but are torn knee ligaments really an acceptable alternative? Hitting high and going low can both prompt their own sets of penalties.
"What will happen, like everything else in life, is everyone will adapt or they won't survive," Schiano said. "So, that's what we're in the process of doing."
Thus, there's an entire generation of safeties, cornerbacks and linebackers accustomed to using whatever method necessary to take down a fleet-footed ball carrier, trying to retrain their brains to focus on the midsection.
"It's all about teaching proper technique," Jets defensive coordinator Dennis Thurman said. "When guys tackle properly, they don't get fined. If you're looking to just get the blowup hit ... you'll probably get that envelope from the commissioner."
One week after Goldson's suspension, Tennessee safety Michael Griffin got a one-game ban as a fellow repeat offender of the no-high-hits-to-defenseless-players rule. That was Griffin's fourth violation in three seasons. Griffin started low on the play that got him suspended, but he wound up popping the opponent's helmet off as the other player was in the process of falling.
"For a player, yeah, I think it's hard because he came into the league when safeties played a different way and the game was different that way in the back end," Titans coach Mike Munchak said. "Now, he's had to learn, as all safeties have had to, to change his game and the way that he plays. He's done that. But it's a fine line."
Defensive backs are asked to break up passes over the middle and make wide receivers think twice about exposing their bodies to catch them. Playing in the secondary isn't simply about being in position to prevent the offense from moving the ball through the air. They have to use aggressive tactics.
Then there's the sport's culture of contact, with jarring hits celebrated by cheering crowds and captured on video in various highlight packages. Deprogramming that is probably impossible.
The dilemma boils down to this: Wide receivers and running backs are usually too fast to be consistently taken down with a head-up, arms-wrapped-around-the-chest form tackle players are taught when they first put on the pads.
"It's bang-bang, within milliseconds, trying to make a decision," San Diego Chargers safety Eric Weddle said. "You're just going to go off instincts."
Pick your poison. Players trying to stay in the league as long as they can will often choose the present over their future health.
"I'd rather get hit up high and be dizzy for a play than get hit low and be out for a whole season," Goldson said.
New England Patriots tight end Rob Gronkowski, who tore his anterior cruciate ligament on a direct hit to the knee three weeks ago, was the latest star who went down from a low hit. Evidence of an increase in lower-body injuries from the recent concussion crackdown is inconclusive. But in this fast-paced, physically punishing sport, there may not be a perfect solution.
"Guys are trying to adjust the best they can," Minnesota Vikings defensive end Jared Allen said. "You try to figure out what you can do legally, but at the end of the day guys don't think about it. You're just trying to get the guy on the ground and deal with the consequences after."
AP Pro Football Writer Arnie Stapleton and AP Sports Writers Janie McCauley, Dennis Waszak Jr., and Bernie Wilson contributed to this report.
AP NFL website: http://www.pro32.ap.org
Dave Campbell on Twitter: http://www.twitter.com/DaveCampbellAP
(Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.)


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Music database
Giuseppe Tartini
born on 8/4/1692 in Piran (Pirano), Slovenia
died on 26/2/1770 in Padova, Veneto, Italy
Giuseppe Tartini
Giuseppe Tartini (8 April 1692 – 26 February 1770) was an Italian Baroque composer and violinist.
Tartini was born in Pirano, a town on the peninsula of Istria, in the Republic of Venice (now in Slovenia) to Gianantonio – native of Florence – and Caterina Zangrando, a descendant of one of the oldest aristocratic Piranese families.[1]
It appears Tartini's parents intended him to become a Franciscan friar and, in this way, he received basic musical training. He studied law at the University of Padua, where he became skilled at fencing. After his father's death in 1710, he married Elisabetta Premazore, a woman his father would have disapproved of because of her lower social class and age difference. Unfortunately, Elisabetta was a favorite of the powerful Cardinal Giorgio Cornaro, who promptly charged Tartini with abduction. Tartini fled Padua to go to the monastery of St. Francis in Assisi, where he could escape prosecution. While there, Tartini took up playing the violin.
Legend says when Tartini heard Francesco Maria Veracini's playing in 1716, he was impressed by it and dissatisfied with his own skill. He fled to Ancona and locked himself away in a room to practise, according to Charles Burney, "in order to study the use of the bow in more tranquility, and with more convenience than at Venice, as he had a place assigned him in the opera orchestra of that city".[2]
Tartini's skill improved tremendously and, in 1721, he was appointed Maestro di Cappella at the Basilica di Sant'Antonio in Padua, with a contract that allowed him to play for other institutions if he wished. In Padua he met and befriended fellow composer and theorist Francesco Antonio Vallotti.
Tartini was the first known owner of a violin made by Antonio Stradivari in 1715, which Tartini bestowed upon his student Salvini, who in turn gave it to the Polish composer and virtuoso violinist Karol Lipiński upon hearing him perform: the instrument is thus known as the Lipinski Stradivarius. Tartini also owned and played the Antonio Stradivarius violin ex-Vogelweith from 1711.
In 1726, Tartini started a violin school which attracted students from all over Europe. Gradually, Tartini became more interested in the theory of harmony and acoustics, and from 1750 to the end of his life he published various treatises.
He died in Padua.
His home town, Piran, now has a statue of Tartini in the square, which was the old harbour, originally Roman, named the Tartini Square (Slovene: Tartinijev trg, Italian: Piazza Tartini). Silted up and obsolete, the port was cleared of debris, filled, and redeveloped. One of the old stone warehouses is now the Hotel Giuseppe Tartini. His birthday is celebrated by a concert in the main town cathedral.
Today, Tartini's most famous work is the "Devil's Trill Sonata", a solo violin sonata that requires a number of technically demanding double stop trills and is difficult even by modern standards. (One 19th-century myth had it that Tartini had six digits on his left hand, making these trills easier for him to play.) According to a legend embroidered upon by Madame Blavatsky, Tartini was inspired to write the sonata by a dream in which the Devil appeared at the foot of his bed playing the violin.
Almost all of Tartini's works are violin concerti (at least 135) and violin sonatas. Tartini's compositions include some sacred works such as a Miserere, composed between 1739 and 1741 at the request of Pope Clement XII,[3] and a Stabat Mater, composed in 1769.[4] He also composed trio sonatas and a sinfonia in A. Tartini's music is problematic to scholars and editors because Tartini never dated his manuscripts, and he also revised works that had been published or even finished years before, making it difficult to determine when a work was written, when it was revised and what the extent of those revisions were. The scholars Minos Dounias and Paul Brainard have attempted to divide Tartini's works into periods based entirely on the stylistic characteristics of the music.
Sixty-two manuscripts with compositions of Tartini are housed at the Biblioteca comunale Luciano Benincasa in Ancona.[5]
Luigi Dallapiccola wrote a piece called Tartiniana based on various themes by Tartini.
Theoretical work
In addition to his work as a composer, Tartini was a music theorist, of a very practical bent. He is credited with the discovery of sum and difference tones, an acoustical phenomenon of particular utility on string instruments (intonation of double-stops can be judged by careful listening to the difference tone, the "terzo suono"). He published his discoveries in a treatise "Trattato di musica secondo la vera scienza dell'armonia" (Padua, 1754). His treatise on ornamentation was eventually translated into French—though when its influence was rapidly waning, in 1771—by a certain "P. Denis", whose introduction called it "unique"; indeed, it was the first published text[6] devoted entirely to ornament and, though it was all but forgotten, as only the printed edition survived, has provided first-hand information on violin technique for modern historically informed performances, once it was published in English translation by Sol Babitz in 1956. Of greater assistance to such performance was Erwin Jacobi's published edition. In 1961, Jacobi published a tri-lingual edition consisting of the French (basis of the following two), English (translation by Cuthbert Girdlestone), plus Jacobi's own translation into German (Giuseppe Tartini. "Traite des agréments de la musique", trans. and ed. Erwin Jacobi. Celle: Hermann Moeck Verlag, 1961). Of significant import, Jacobi's edition also includes a facsimile of the original Italian found in Venice in 1957, copied in the hand of Giovanni Nicolai (one of Tartini's best known students) and including an opening section on bowing and a closing section on how to compose cadenzas not previously known. Another copy (though less complete) of the Italian original was found among manuscripts purchased by the University of California, Berkeley in 1958, a collection that also included numerous ornamented versions of slow movements of concertos and sonatas, written in Tartini's hand. Minnie Elmer analyzed these ornamented versions in her master's thesis at UC, Berkeley in 1959 (Minnie Elmer. "The Improvised Ornamentation of Giuseppe Tartini". Unpublished M.A. thesis. Berkeley, 1959).
Fictional portrayal
Tartini is mentioned in Madame Blavatsky's "The Ensouled Violin", a short story included in the collection Nightmare Tales.
Tartini, the great composer and violinist of the XVIIIth century, was denounced as one who got his best inspirations from the Evil One, with whom he was, it was said, in regular league. This accusation was, of course, due to the almost magical impression he produced upon his audiences. His inspired performance on the violin secured for him in his native country the title of "Master of Nations". The Sonate du Diable, also called "Tartini's Dream"—as every one who has heard it will be ready to testify—is the most weird melody ever heard or invented: hence, the marvellous composition has become the source of endless legends. Nor were they entirely baseless, since it was he, himself; who was shown to have originated them. Tartini confessed to having written it on awakening from a dream, in which he had heard his sonata performed by Satan, for his benefit, and in consequence of a bargain made with his infernal majesty.
The folklore of the "Devil's violin", classically exemplified by a similar story told of Niccolò Paganini, is widespread; it is an instance of the "Deal with the Devil". Modern variants are Roland Bowman's The Devil's Violin and the country song The Devil Went Down To Georgia; the PBS segment on violin in its series "Art" was titled "Art of violin: the devil's instrument".
Tartini's The Devil's Trill is the signature work of a central character in Daniel Silva's The English Assassin. Anna Rolfe, the daughter of a Swiss banker, is a famous violinist and the sonata features prominently in the novel. The story of Tartini's inspirational dream is told.
Tartini's "The Devil's Trill" is also featured in the Japanese anime Descendants of Darkness (Yami no Matsuei). The three part story is also named after the song.
- ^ Tartini The official web site of Portorož and Piran
- ^ Burney, Charles (1789). A General History of Music, from the Earliest Ages to the Present Period. To Which Is Prefixed, a Dissertation on the Music of the Ancients. 3 (2 ed.). London: T. Becket, J. Robson, and G. Robinson. pp. 564–565.
- ^ Biography at istrianet.org, under External links
- ^ Biography on Allmusic, under External links
- ^ Biblioteca Communale Luciano Benincasa (AN)
- ^ Typically, Tartini never published the Italian original itself, but it circulated widely in manuscript, and Leopold Mozart appropriated sections of it for his own Violinschule, written in 1754, published at Augsburg, 1756. (Sol Babitz, ed. "Treatise on Ornamentation" Journal of Research in Music Education 4.2 [Autumn 1956:75–102]).
- Paul Brainard: "Le sonate per violino di Giuseppe Tartini Catalogo tematico" - edition "I Solisti Veneti", Padova 1975
- Giuseppe Tartini: "Scienza Platonica fondata nel cerchio" by Anna Cavalla Todeschini for Accademia Tartiniana of Padova president Enzo Bandelloni, executive committee Francesco Cavalla, Edoardo Farina, Claudio Scimone. The text reproduces an unpublished work, the manuscript is at the Museo del Mare a Pirano. edizione CEDAM
- Giuseppe Tartini,Trattato di musica secondo la vera scienza dell'armonia, Nella Stamperia del Seminario, Appresso Giovanni Manfrè, PADOVA, MDCCLIV – Riedizione Anastatica, Edition "I Solisti Veneti", CEDAM, PADOVA, 1973
- Giuseppe Tartini, De' principj dell'armonia musicale contenuta nel diatonico genere – Dissertazione, Stamperia del Seminario, PADOVA, MDCCLXVII – Facsimile edition, Edizione "I Solisti Veneti", CEDAM, PADOVA, 1974
- Chisholm, Hugh, ed. (1911). "Tartini, Giuseppe". Encyclopædia Britannica. 26 (11th ed.). Cambridge University Press.
External links
Wikimedia Commons has media related to Giuseppe Tartini. |
- Allmusic Biography
- NNDB entry and biography
- A Tartini Page with Partial Discography
- Free scores by Tartini at the International Music Score Library Project (IMSLP)
- Free scores by Giuseppe Tartini in the Choral Public Domain Library (ChoralWiki)
- Tartini, a computer program that uses combination tones for pitch recognition
- L'Arte dell'Arco
- Giuseppe Tartini – Prominent Istrians at istrianet.org
This article uses material from the article Giuseppe Tartini from the free encyclopedia Wikipedia and it is licensed under the GNU Free Documentation License.


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Diskusi mengenai Crossover Aktif dan Pasif
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This article is more than 1 year old
Virgin Media site goes titsup in Pirate Bay payback attack
Anonymous claims takedown victory
Virgin Media's main website dropped off the interwebs on Tuesday with hackivist collective Anonymous claiming responsibility for the DDoS attacks in response to the company's recent cut-off of The Pirate Bay.
The telco said it had to down its "customer-facing" website for about an hour last night, after it was hit by Distributed Denial of Service attacks yesterday evening.
At the time of writing the site remains offline – although VM is claiming that it is "back online" as of this morning, following "intermittent" problems overnight.
Still out of action this morning
Virgin Media gave The Register this statement:
Our website, virginmedia.com, has been the subject of denial of service attacks so we took the site offline for a short period of time. We're aware some groups are claiming the attacks are a result of the recent High Court order which requires ISPs to prevent access to The Pirate Bay.
As a responsible ISP, Virgin Media complies with court orders but we strongly believe that tackling the issue of copyright infringement needs compelling legal alternatives, giving consumers access to great content at the right price, to help change consumer behaviour.
It's understood that rival ISP TalkTalk, which already offers web-filtering to its punters and was ordered by a High Court judge last week to shut off access to The Pirate Bay website, has also been targeted by hackers.
TalkTalk hadn't immediately returned our request for comment at time of writing.
An Anonymous representative claimed on the group's Twitter feed that the hacktivist group had attacked Virgin Media to protest against the company's "censorship" of The Pirate Bay. ®


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(formerly Application Adapters for EnterpriseContent Management)
Enable your users to easily access, view, and act on business transactions directly from within their business application while providing access to supporting content, or outside the application environment via intranet or extranet web sites built with Oracle WebCenter. These adapters enable capture, imaging and attachment solutions that increase the efficiency of line-of-business operations, or integrate with 3rd party applications to integrate them into your web sites. The adapters allow you to integrate Oracle WebCenter into your environment while providing enterprise class Fusion Middleware infrastructure to support your applications:
- Oracle E-Business Suite Adapter for Oracle WebCenter
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- Siebel Adapter for Oracle WebCenter
- Oracle WebCenter Adapter for SharePoint
Oracle rebrands Content Management portfolio to Oracle WebCenter Content. Read the press release.
Download | Documentation |


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I think Gmail is the first webmail provider that features the Conversation -- having only one mailbox entry for messages in the same thread. Neat.
However, a downside to this is that when you edit the subject just a wee bit (even just one character), that new message breaks apart from the rest of the Conversation and itself creates a new thread. Yes, changing the subject does have its benefits.
Can I put together several related messages into one Conversation?


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Nick Celebrates 10 Years of Dora with "Dora's Big Birthday Adventure" Primetime Special on August 15
via Nickelodeon press release:
Nickelodeon Celebrates 10th Anniversary of Groundbreaking Preschool Series Dora the Explorer With New Primetime TV Movie, 'Dora's Big Birthday Adventure,' Premiering Sunday, Aug. 15
Nick also to Air Specially Commissioned 10th Anniversary Dora Documentary, Executive-Produced By Academy Award®-Nominated Brett Morgen and Featuring Anderson Cooper, Elisabeth Hasselbeck, Salma Hayek Pinault, Shakira, Soledad O'Brien and Sherri Shepherd
NEW YORK, July 27 /PRNewswire/ — She did it! She did it! Nickelodeon celebrates the landmark 10th anniversary of the world's most beloved Latina heroine, Dora the Explorer, with a brand-new, hour-long primetime TV movie, "Dora's Big Birthday Adventure," premiering Sunday, Aug. 15, at 8:00 p.m. (ET/PT) on Nickelodeon. The TV movie, which follows Dora and Boots on a whirlwind journey through Magic Storybook Land and guest stars Rosie Perez as La Bruja (the witch), John Leguizamo as the Flying Monkeys and Hector Elizondo as the Wishing Wizzle.
Following the TV movie, at 9:00 p.m. (ET/PT), Nickelodeon will premiere the first-ever Dora 10th Anniversary documentary, a special 12-minute tribute executive-produced by Academy Award®- nominated Brett Morgen (The Kid Stays in the Picture) and directed by Debra Eisenstadt. The documentary explores the series' cultural and educational impact and features appearances by Dora and her friends, commentary from creators Chris Gifford, Valerie Walsh Valdes and Eric Weiner, industry experts, real-life kids and celebrities including Anderson Cooper, Elisabeth Hasselbeck, Rosie Perez, Salma Hayek Pinault, Shakira, Soledad O'Brien, Sherri Shepherd and more.
"For the past 10 years, Dora the Explorer has been a pioneer – a symbol of empowerment, diversity and education," said Brown Johnson, President, Animation, Nickelodeon. "She has captured the hearts of millions of fans around the world and will continue to inspire and entertain preschoolers for many years to come."
Since launching on Nickelodeon Aug. 14, 2000, Dora the Explorer has emerged as a pop culture phenomenon and is currently the number-one rated preschool show on commercial television year-to-date. (Source: NMR, Live+7 Blended with Live+SD from 12/28/09-7/20/10). Dora the Explorer, which can be seen in 151 markets and is translated into 30 languages, has been honored with awards including the Peabody, NAACP, Alma, Imagen, Latino Spirit, Gracie Allen, Parents' Choice Award, the Television Critics Association Award and has received 16 Daytime Emmy nominations.
In "Dora's Big Birthday Adventure," a twisting wind has blown Dora and Boots into Wizzle World, a land located in the Magic Storybook. Dora and Boots can't jump out of the Magic Storybook without first taking Dora's crystal to the Wishing Wizzle (Hector Elizondo) so he can wish them back home in time for Dora's birthday party with all her family and friends. They set off an adventure to Wishing Mountain, but they better watch out for La Bruja (Rosie Perez) and her Flying Monkeys (John Leguizamo) who don't like wishes and try to stop Dora and Boots. In order to overcome the obstacles, Dora and Boots reflect back on past adventures to guide them along the way.
The premiere of "Dora's Big Birthday Adventure" will simulcast on Nick Mobile on Sunday, Aug. 15. Additionally in August, a selection of fan-favorite Dora the Explorer episodes will be available on Nick on Demand and celebratory-themed episodes of Dora will be released across Nickelodeon's Download-to-Own partners. Fans can also visit www.nickjr.com for a sneak peek of "Dora's Big Birthday Adventure" on Monday, Aug. 2. Created by Nickelodeon Home Entertainment and distributed by Paramount Home Entertainment, the "Dora's Big Birthday Adventure" DVD will be available on Aug. 3, 2010.
Nickelodeon also is marking the 10th anniversary of Dora the Explorer, with a multi-year, multi-platform pro-social campaign titled "Beyond the Backpack." Named for Dora's iconic backpack, "Beyond the Backpack," champions overall school readiness for preschoolers as they prepare for the important adventure of starting school.
In partnership with National Parent Teacher Association (PTA) and other experts and leaders in school readiness, "Beyond the Backpack" provides parents with tools and resources that can help kids prepare for a well-rounded, positive experience as they enter kindergarten. The components of "Beyond the Backpack," include dedicated PSAs; a web site (www.dora.beyondthebackpack.com) with customized resources and learning activities including a curriculum-focused checklist for parents to determine if their child is ready for kindergarten, links to partner organizations, financial resources and grants; fundraising activities; and community events.
Also, in support of "Beyond the Backpack," Salma Hayek Pinault along with other celebrities will be featured in PSAs alongside Dora speaking about the campaign. Hayek Pinault, Shakira, and Slash along with other celebrities are designing one-of-a-kind, Dora-inspired backpacks to be auctioned globally this summer. One hundred percent of the U.S. proceeds will benefit the Children's Defense Fund and international proceeds will go toward childhood education.
Dora the Explorer, created by Chris Gifford, Valerie Walsh Valdes and Eric Weiner, is a play-along, animated adventure series starring Dora (Caitlin Sanchez). Dora is a seven-year-old Latina heroine whose adventures take place in an imaginative, tropical world filled with jungles, beaches and rainforests. She explores her world just as preschoolers do everyday, and the show is designed to actively engage its audience in an interactive quest using a variety of learning techniques.
About Nickelodeon
Nickelodeon, now in its 31st year, is the number-one entertainment brand for kids. It has built a diverse, global business by putting kids first in everything it does. The company includes television programming and production in the United States and around the world, plus consumer products, online, recreation, books and feature films. Nickelodeon's U.S. television network is seen in more than 100 million households and has been the number-one-rated basic cable network for 16 consecutive years. For more information or artwork, visit www.nickpress.com. Nickelodeon and all related titles, characters and logos are trademarks of Viacom Inc. (NYSE: VIA, VIA.B).
SOURCE Nickelodeon


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- From: James Salsman <firstname.lastname@example.com>
- Date: Sun, 4 Jan 1998 15:38:36 -0800
- To: firstname.lastname@example.com
- Cc: firstname.lastname@example.com, firstname.lastname@example.com
INTERNET-DRAFT J. Salsman Filename: <draft-salsman-www-device-upload-01.txt> Bovik Research Expiration date: 1 July 1998 4 January 1998 Form-based Device Input and Upload in HTML Status of this Memo This draft extends an experimental protocol for the Internet community. This draft does not specify an Internet standard of any kind. Discussion and suggestions for improvement are requested. Distribution of this memo is unlimited. This document is an Internet-Draft. Internet-Drafts are working documents of the Internet Engineering Task Force (IETF), its areas, and its working groups. Note that other groups may also distribute working documents as Internet-Drafts. Internet-Drafts are draft documents valid for a maximum of six months and may be updated, replaced, or obsoleted by other documents at any time. It is inappropriate to use Internet- Drafts as reference material or to cite them other than as "work in progress." To view the entire list of current Internet-Drafts, please check the "1id-abstracts.txt" listing contained in the Internet-Drafts Shadow Directories on ftp.is.co.za (Africa), ftp.nordu.net (Europe), munnari.oz.au (Pacific Rim), ds.internic.net (US East Coast), or ftp.isi.edu (US West Coast). 1. Abstract Currently, HTML forms allow the producer of the form to request information -- including files of data -- from the operator reading the form. However, this capability is limited because HTML forms don't provide a way to ask the operator to submit input from arbitrary sources such as audio devices like microphones. Since input and upload from various devices is a feature that will benefit many applications, this draft proposes an extension to the HTML INPUT TYPE=FILE form element specified in RFC 1867 to allow information providers to express requests for uploads from audio and other devices uniformly. A discussion of MIME audio data types to facilitate useful audio upload responses follows. Also security discussions, audio usability and quality discussions, and a description of a backward compatibility strategy allowing new user agents to utilize HTML written with earlier proposals for audio input in mind. Motivations, including language instruction assistance, voice transcription, and other applications, conclude. 2. HTML forms with device input file upload submission Section 3.1 of RFC 1867 provides for the presentation of an arbitrary "widget" to specify input for file uploads. When an INPUT tag of type FILE is encountered with a DEVICE attribute, the associated value (such as MICROPHONE, or MIC) might select the use of a widget capable of buffering and editing real-time input (such as speech) instead of entering a file selection mode. If an ACCEPT attribute is present in a device file input element, the browser might constrain the MIME type of uploaded data to match those with the corresponding list of types specified. If the value of the DEVICE parameter is FILESYSTEM or FILES then the INPUT element might be treated as usual according to RFC 1867 except that the subset of files presented to the operator to choose from may be constrained by the specified list of MIME types instead of a pattern of file names or extensions. Since there is no original filename as specified in section 3.3 of RFC 1867 for parameters of the 'content-disposition: form-data' and 'content-disposition: file' HTTP headers, those headers might be provided with a 'type' parameter representing the MIME type of the encoded data, if known, and a 'device' parameter with the same value as the DEVICE attribute of the associated form input element, unless the device or MIME type(s) specified are unsupported in which case the value of the 'device' header parameter might be 'unsupported', or unless the device is unavailable in which case the value might be 'unavailable'. If the MIME types requested are unsupported, an additional parameter 'alternates' might be included with a space-separated list of MIME types of the same content-type which may be supported as alternatives for the specified device. The content-disposition header parameter syntax is described in RFC 1806. There may be significant limitations on the client browser's ability to buffer input for upload. Browsers might provide an estimate of the default MAXLENGTH available for device input and upload through the HTTP header 'Pragma: DEVICE-MAXLENGTH='BYTES which represents the content-length available to the browser for buffering (see section 14.32 of RFC 2068.) Furthermore, the VALUE attribute may be used to provide a disambiguation between multiple similar devices when present. If real time events, such as those described and proposed by Gregory S. Aist in "A General Architecture for a Real-Time Discourse Agent and a Case Study in Computerized Oral Reading Tutoring" (Carnegie Mellon University Computational Linguistics Program, 6 December 1996), are required, then the Real-time Transport Protocol (RTP, currently RFC 1889) should be used instead. Because of security concerns discussed in section 3 below, HTML scripts might not be able to invoke a form submission when the form involves any kind of file upload without explicit instructions from the session operator to the contrary. 2.1. Examples <FORM ENCTYPE="multipart/form-data" METHOD=POST ACTION="_URL_"> Say something: <INPUT NAME=SPEECH1 TYPE=FILE DEVICE=MIC> <INPUT TYPE=SUBMIT VALUE="Send Speech"> </FORM> In this simple form, the HTML author has requested the upload of sampled microphone input from the operator upon form submission. <INPUT NAME=SPEECH2 TYPE=FILE DEVICE=MICROPHONE ACCEPT="audio/l16 ;rate=11025 ;channels=1 audio/x-cepstral-voc"> Here MIC is not used as an abbreviation. The author of the HTML has requested that the data input from the microphone be encoded as either the MIME type Audio/L16 -- sixteen bit signed linear audio samples (most-significant byte first) -- as specified in RFC 1890 section 4.4.8, with a single (monaural) channel and a sample rate of 11,025 samples per second, or an unspecified extended MIME Audio type named 'x-cepstral-voc'. <INPUT NAME=FILE1 TYPE=FILE DEVICE=FILES ACCEPT="text/*"> Here the form element may be used to upload a file as usual, except that the files to select from might be constrained to text files, without explicit regard of their filename or extensions. <INPUT NAME=PICTURE1 TYPE=FILE DEVICE=CAMERA VALUE=2> The final example shows how these extensions may be used to request input from other kinds of devices, such as the second of two or more cameras connected to the system running the browser. Under most conditions the operator should be allowed to select the device input, or re-select it if it was specified with a VALUE parameter. 3. User interface usability and quality concerns for audio An audio sample is customarily recorded on computer equipment with a dialog routine capable of allowing the user to record, pause, play back, erase, or otherwise edit the recording. Browsers might provide the operator with the same kind of dialog routine for audio device input. And if a MAXLENGTH has been specified or is in force because of limited buffer size, a display of the buffer size used and remaining might be displayed as a dynamic bar graph (or percentage if graphics are unavailable.) A display of time in seconds used and remaining in the buffer may also be provided. Most MIME types defined for audio do not provide high-quality audio encodings. The 'audio/basic' and other types which use a sample rate of 8,000 samples per second truncate the audio spectrum at 4,000 Hz according to the Nyquist theorem, discarding information important for discerning consonants. Also, audio/basic and other MIME Audio types use a sample size of eight bits, which does not usually provide enough dynamic range for accurate automatic speech recognition unless published automatic gain control algorithms are reliably used. If sixteen-bit unsigned audio encodings are used according to section 4.4.8 of RFC 1890, the sample rate -- specified as the 'rate' parameter of the MIME type 'audio/l16' -- might be at least 11,025 or 16,000 to adequately provide sufficient information for automatic speech recognition. Otherwise, the audio feature extraction encoding of the speech recognition algorithm might be used to provide a more compact representation to shorten the upload. 4. Security considerations Browser operators may not want to send their files, recordings, pictures, video, or other device inputs to arbitrary sites without their explicit permission and direction. Therefore, browser authors are encouraged to disallow the submission of forms which include any kind of file upload by any means other than the standard HTML operator-controlled buttons for form submission without explicit instruction from the session operator to the contrary. Accordingly, the SIZE parameter, document style sheets, and document layers may be prevented from obscuring any kind of file upload widget, especially those capable of accepting a default filename. Furthermore, just as the operator may take direct action to initiate, terminate, review and edit recording as described in ] the previous section, browser authors are encouraged to prevent HTML scripts from taking those and similar actions, unless for example the operator has specifically enabled such script actions with a security option. Even then, such preferences might be specified by the operator to reset after an interval or at the end of the session. Finally, explicit information might be provided to insure that the operator is informed when files are being uploaded. 5. Compatibility with earlier forms of audio input Audio device input has been proposed before and implemented from a microphone at least as early as 1994 in experimental versions of common Web browsers. To accommodate the syntax of these earlier extensions, a browser might interpret a valid XML statement such as <INPUT TYPE=AUDIO ...> as the device input form <INPUT TYPE=FILE DEVICE=MICROPHONE ...> with all other attribute/value pairs of the original INPUT element kept the same as specified. This would retain compatibility for all implementations of which the author of this draft is aware. 6. HTML Document Type Description changes Along with the extension to the HTML InputType entity described in the previous section, this proposal makes an addition to the HTML DTD for the INPUT element ATTLIST of an #IMPLIED attribute DEVICE of type CDATA. 7. Motivations and conclusion The primary motivation for these extensions is to add the capability of speech input to Web-based educational systems. For example, the "Test of English as a Foreign Language," or TOEFL assessment is comprised of multiple choice questions based on media comprised of text and audio recordings, so it would be possible to represent the TOEFL with current HTML multimedia content and forms. However, the TOEFL makes no provision whatsoever about the accuracy of pronunciation by the subjects of the assessment, except that provided by the ability to accurately identify the terms in the text of the assessment. So while scoring on the important ability to listen, the TOEFL does not make provisions to assess the important ability to speak with correct pronunciation. But with form-based audio input and upload, and speech recognition servers capable of aligning and scoring the pronunciation of words and phonemes, such a Web-based TOEFL could be extended to lessen the number of indiscernible graduate teaching assistants, for example. These possibilities for language instruction are not limited to the graduate level or to the English language. Other motivations include the development of "dictation servers" capable of transforming spoken audio uploaded though an HTTP session to the corresponding text suitable for sending in email or including in another document, for example. Natural language continuous speech recognition software conforming to standard APIs for automatic dictation is as of this writing available from retail outlets for less than US$90 so there is ample reason to believe that dictation servers might soon become commonplace on the Web with these extensions. Furthermore, this could be a great help for hearing impaired people who want to use a "phonology server" (similar to the server described in the servers described above) to practice improving their pronunciation without depending on a human speech coach. Finally, Larry Masinter, author of RFC 1867, has indicated that graphical paper scanners might be used for applications such as OCR and bar-code upload. "DEVICE=SCANNER" is suggested. The change to the HTML DTD is very simple, but very powerful. It enables a much greater variety of services to be implemented via the World-Wide Web than is currently possible due to the lack of a peripheral input upload submission facility. This would be a very valuable addition to the capabilities of the World-Wide Web. 8. Author's address and acknowledgments James Salsman Bovik Research 575 S. Rengstorff Avenue #175 Mountain View, CA 94040-1982 Email: firstname.lastname@example.com Phone: (650) 938-1440 Larry Masinter and Harald Alvestrand contributed excellent advice. Ed Tecot contributed the means of device and media independence. David McMillian contributed to the description of capabilities of the audio widget. Syracuse Language Systems, The Learning Co., and EduSoft, Ltd., contributed much of the inspiration; Jack Mostow and Greg Aist filled in the real-time details for younger grades. "TOEFL" and "Test Of English as a Foreign Language" are registered trademarks of Educational Testing Service. References [RFC 1867] Form-based File Upload in HTML. E. Nebel & L. Masinter, November 1995. [RFC 1806] Communicating Presentation Information in Internet Messages: The Content-Disposition Header. R. Troost, S. Dorner, June 1995. [RFC 2068] Hypertext Transfer Protocol -- HTTP/1.1. R. Fielding, J. Gettys, J. Mogul, H. Frystyk, & T. Berners-Lee, January 1997. [RFC 1889] RTP: A Transport Protocol for Real-Time Applications. H. Schulzrinne, S. Casner, R. Frederick, & V. Jacobson, January 1996. [RFC 1890] RTP Profile for Audio and Video Conferences with Minimal Control. H. Schulzrinne, January 1996. END OF INTERNET-DRAFT Filename: <draft-salsman-www-device-upload-01.txt> Expiration date: 1 July 1998 :jps
Received on Sunday, 4 January 1998 18:38:57 UTC


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Two more contrasting showcase programmes than Fresh Cuts and Y Chromozone are hard to imagine. Back-to-back placement on the Tempo 2012 dance festival programme, however, lets them become complementary opposites.
Fresh Cuts offers a distinctly feminine series of perspectives on everyday life, through contemporary dance works that tackle issues arising from interpersonal behavior in a social context, cross-cultural influences on ideas of what makes one beautiful, events that disrupt one's world, everyday insecurities and vulnerabilities, getting out of bed in the morning with enough energy to tackle the day's demands, and a critique of iconic representations of Pacific women. The programme mostly comprises complete short works, though some excerpts are included.
Y Chromozone is a celebration of the kind of polished masculinity which features in a wide array of dance forms. Examples here were taken from contemporary dance, hip hop and street dance, aerial dance, bharat natyam, the traditional dance of Manihiki (Cook islands) and Samoan siva afi (fire knife), Michael Jackson, tap dance and the tango. The program is split between short excerpts and complete short works, with stellar performances by an array of well known local performers including Michael Parmenter, Sopi Jensen and Prestige Dance Crew complemented by exciting showings from emerging artists Joel White and a student quartet - Te Arahi Easton, Eddie Elliott, Jared Hemopo and Ben Temoku.
Fresh Cuts is at times messy and chaotic, intensely competitive, riven with insecurities, and with social realities thrown into relief. The most developed work on the programme, Jessie McCall's Gimme Some Sugar, I Am Your Neighbour delves into neighbourly rivalries and acts of kindness, jealousies and genrosities along with the craving and consequences of gift circulation amongst friends.
Also impressive, and with a strong, clear focus in its thematic material is Anitra Hayday's If You're Going To Be Late, Why Don't You Just Leave Earlier, which opens and closes with figures strewn across the floor and the sound of alarm clocks. Whatever these dancers are on has great potential as a drug - from the moment the alarm sounds they are galvanized into action and utterly unstoppable.
What: Fresh Cuts
When: 11 October (6pm)
Where: Loft, Q Theatre
What: Y Chromozone
When: 11 October (8pm)
Where: Rangatira auditorium, Q Theatre


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What if a director squandered an $81 million music video budget and all the band had left was a bunch of footage of themselves acting oddly in front of a CGI green screen? That's the scenario imagined in the hilarious new video from kickass Nashville trio, the Ettes, directed by The Best Show host Tom Scharpling and starring comedian Patton Oswalt — as Tom Scharpling. It premieres below.
The clip for "Excuse," off the just-released Wicked Will, opens with Oswalt/Scharpling's "explanation" about what happened. "Boy, we had some big plans for this video," he deadpans. "We were going to knock your socks off, and make Avatar look like The Breakfast Club." After revealing that he blew the aforementioned $81 million — "I'm a bad guy, with a lot of deep vices" — he encourages viewers to use their imaginations to flesh out the video's unfinished action scenes. "That's when your brain is gonna kick in and create a wonderland that's gonna make Tim Burton throw himself under a bus."
The Ettes had long been fans of Scharpling, and his popular The Best Show broadcasts on listener-supported NYC-area radio station WFMU. They first discussed the possibility of collaborating on a video late last year, and the band rang up Scharpling as soon as their album was finished.
"I could not have been more excited because they are completely game for stuff and have a great sense of humor about themselves," Scharpling tells SPIN. Says the Ettes' Coco Hames: "Comedy and music are so related, and when Tom started doing music videos, we were super stoked."
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Scharpling recruited Oswalt to participate — "I'm such a fan of his other videos, so of course I said yes," the comedian says — and worked with artist Zack Soto to create the faux storyboards used in the video to show the viewer what was supposed to happen, CGI-wise.
Now Scharpling — who says he draws inspiration for his music video work from indie directors Phil Morrison and Peyton Reed, and early ABBA videos — hopes someone will tap him to helm a project with a real-life big budget. "I'm still waiting for someone to let me shoot something like 'Space Lord' by Monster Magnet or 'Got the Life' by Korn," he says. "I'm not joking!"
Watch It: The Ettes, "Excuse"
Written & Directed by Tom Scharpling
Producers: Robert Hatch-Miller & Puloma Basu
Cast: Patton Oswalt, Michael Lisk, Alex Scordelis, Greg Parker Needham


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Environmental Enrichment for Puppies and Dogs
Jack is a 1-year-old Labrador retriever. He is shiny, black, and full of energy. He is bouncing around my exam room wagging his entire body and soliciting attention from everyone. Each toy that I pull out is immediately picked up by Jack. He throws it up in the air and pounces on it as it falls to the ground. Eventually, he takes the time to lie down and tear the toy to bits.
So, why write about Jack? He seems pretty normal right? Well, he was adopted last Christmas by a retired couple. They also have an older Labrador retriever who is, of course, "perfect." Jack's destructive nature made his owners pick up the phone and make an appointment with me. Whenever destructive behaviors are bad enough to make an owner call me, I always want to rule out separation anxiety. Separation anxiety is extreme stress and distress when the dog is virtually or actually separated from the owners.
But, that is not Jack's problem. Jack is happy to pick things up and destroy them right in front of his owners. If he is lying down, he just rolls over, grabs a chair leg in his mouth and starts chewing. This all began as a normal behavior when Jack was a puppy. Because the owners were used to living with an older dog, they had forgotten what it was like to live with a puppy. Puppies need lots of stimulation, and Jack needs 2 or 3 times the stimulation that an average Labrador Retriever puppy would need. Because Jack was not well exercised, didn't go to training classes, and did not have near enough toys, he learned that the best way to expend his energy is to find something in the house to chew on. A secondary payoff that he hadn't anticipated was that the owners would give him loads and loads of attention just for grabbing their things and running off with them. Now, Jack is not only destructive, he's also a thief.
To set Jack back on track, we focused on enrichment, supervision, boundaries, ignoring negative behaviors, and reinforcing positive behaviors. This week we'll talk about enrichment.
Jack's owners said the same thing that 99.9% of all owners say when I begin to talk about enrichment: "My dog has lots of toys." And I always say the same thing: "I'm sure he does. However he has slobbered, torn up, and rolled around with every single one of them already so they're not very interesting anymore."
This reminds me of a night when my husband and I were getting ready to go out. My husband stood behind me as I stood in my closet staring at my shoes. I turned back to him and said, "I just don't have any shoes to wear." As he looked down at all of my shoes lined up neatly in boxes with pictures taped to the outside, he exclaimed with disbelief, "What? Look at all those shoes!"
To my husband, I had lots of shoes. But to me, they were old, worn, and very uninteresting. Dogs feel the exact same way about all those old toys sitting in the toy-box. To combat that boredom, follow the suggestions below.
1. Feed your dog all of his meals — yes I mean every morsel of kibble — out of food toys. The pet supply companies have finally caught up with the current behavioral recommendations and as a result offer innumerable numbers of food toys. This takes a very small event — eating dinner — that usually takes 5 minutes and turns it into an event that could last an hour.
2. Get your dog out. An excursion in the car, in the basket of your bike, or just down the street will enrich your dog's life and mentally wear him out.
3. Schedule doggie play dates. There is nothing like off-leash dog play to wear a dog flat out. Be careful about taking your dog to dog parks. It is much safer to simply schedule play dates with friendly dogs.
4. Rotate your dogs' toys so that your dogs have 3 toys per dog in the household per day. Keep the toys out of rotation for 5 days. Continue to leave your toy box full.
5. Purchase some puzzle toys. Puzzle toys are toys which test your dog's intelligence by making finding treats more challenging. Take the treats you would've given your dog for being cute, break them into quarter inch pieces, and put them into the puzzle toys. Think your dog is smart? Try one of these puzzle toys.
6. Find your dog's preference and go with it. I told Jack's owners to go to the local pet supply store and to online websites and buy as many different types of toys as they could find. Then, they were to watch Jack with the toys so that they could determine his preferences. When I first adopted Maverick, my Labrador retriever puppy, earlier this year I did exactly what I had instructed Jack's owners to do. It became apparent that while Maverick generally liked pretty much all toys, his preference was for very hard toys. Now I make sure to have many hard toys around the house for him.
7. Have a reasonable expectation of your pet. Jack's parents were very distressed by the idea of rearranging their lives, their feeding schedule, and their home for Jack. Outside of medicating Jack — who remember is a completely normal dog — I don't have a way to change who he is. On some level, Jack's owners will have to commit to keeping him very enriched, most likely over the course of his entire lifetime. They can swim against the tide and eventually become exhausted, negatively affecting the bond that they have with their dog, or they can accept the level of care that Jack requires and go with the flow.
Next week, we will talk about boundaries and the level of supervision puppies like Jack need.
Dr. Lisa Radosta
Image: Hisom Silviu / via Shutterstock


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People have been developing better, smarter ways to improve efficiencies and save time and money in the supply chain for as long as goods and products have been bought and sold. It seems there are always more inventive ways to improve efficiencies. The most significant breakthroughs in supply chain optimization came with the advent of advanced computing technology and have evolved dramatically in the past 25 years. And now, executives can break down every level of the manufacturing, processing and transportation of goods to find ways to reduce supply chain costs, improve margins, lower inventories, increase manufacturing throughput and increase their overall return on investment (ROI). Sustainability issues have also recently been introduced into the mix, adding another wrinkle to an already complicated list of measurable concerns.
Just as optimizing the supply chain is about saving money, so is creating more sustainable processes. As much as eco-friendly practices send a positive corporate message, they can also improve efficiency and profitability.
Examples of the synergies between cost savings, process efficiency and sustainable practices are everywhere. From improved package designs that save on gas or refrigeration costs to advanced corporate programs that play on their energy efficient green building designs or commitments to using wind energy and other green alternatives for large percentages of operating costs, sustainability can help a business from top to bottom, helping grow new business, save costs and retain market share with increasingly sustainability-conscious consumers.
Packaging systems optimization programs were developed with just these synergies in mind. At the heart of one such program is the intention to provide companies with new ways to streamline operations and reduce total systems costs. The program hones in on efficiency and waste reduction throughout the supply chain and maps out sustainable fixes that improve the bottom line. Everything from material optimization and package design to material handling and distribution are analyzed.
Less is More
Companies are on a constant hunt to build more with less, but some of the biggest advancements in recent years have come from developing ways for companies to do more with the material they already have. From developing new package designs and reengineering old ones to creating the same package shapes with less material, this trend can be seen in virtually every consumer packaged good company. Creating new shapes in juice bottles that save material but don't sacrifice filling volume is just one example. The new milk container available in Sam's Club that is square-shaped and caseless is another example. Even label makers are getting into the game. Eastman Chemical's newest shrink labels can be made with 20% less material than traditional labels of the past. Part of Georgia-Pacific's contribution to this area of study is creating corrugated boxes that have reduced fiber content, saving material costs and reducing package weight while maintaining strength and support.
Increase Serving Size; Increase Sales
While larger package sizes may not seem like a highly sustainable packaging decision at face value, multipack options such as those found at club and super stores are, in actuality, far more eco-friendly than their single-serving rivals. Take the case of Honest Tea, an organic iced tea brand that Georgia-Pacific worked with to move the brand into club stores by transitioning to a 24-drink multipack. The new option gave the brand more shelf appeal and visibility, and was 41% lighter, saving on shipping and fuel costs. In addition, the new multipacks are made with 35% postconsumer waste and the handle is made with 45% postconsumer waste. Annual reductions in fiber use were 1,200 tons, 2,600 tons of carbon dioxide emissions were eliminated based on the manufacturing process, and 12,369 MM BTU of energy savings were calculated per year as a result of the transition.
Function Meets Form
Similarly, the rise of functional packaging has given way to a whole new approach to sustainability. Think back to one of the earliest forms of functional packaging—microwave popcorn. The package could also be used as the eating bowl, eliminating unnecessary waste and saving water and washing detergent. Now this same packaging technique is seen in everything from pint-sized ice cream containers to yogurt—where granola and other toppings can be packaged separately on the same container.
Easing the Load on the Road
There must be a dozen ways consumer package goods companies have learned to save money and become more sustainable when it comes to transportation. From the square, caseless milk packages mentioned earlier, which save on milk crate costs and stack better in the store, to advanced aseptic packaging that allows perishable products to be shipped without refrigeration, sustainable practices can be found anywhere you turn on the transportation side of the supply chain. While shape has been a big area of innovation for con
sumer brands, so has the material choice—and a good deal of the change has been the result of weight. Heavier materials such as glass have given way to new corrugated boxes and other lightweight containers. The lighter the load, the less fuel it takes to haul. It's a simple law of physics.
Supply chain optimization will save your company money while reducing any long-term negative impact on the environment. While the concept is not a new one, many engineers and companies are constantly on the hunt for the next big idea. Cost savings and material and energy savings are areas of constant scrutiny for any organization. And by staying connected to the companies on the forefront of these innovations, you'll always be in the loop.
Pat Smorch is director, packaging sustainability at Georgia-Pacific's Innovation Institute. He is an expert on the synergies between supply chain optimization and sustainability.


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